Lyne Seybel (1919-2009) - Montmartre, Au Soleil de la Butte
\Artist: Lyne Seybel (1919-2009)
Technique: Oil on canvas\Signature: Hand signed\Dimensions: 22_27_0_cm
Lyne SEYBEL (1919-2009) “Montmartre, Au Soleil de la Butte” Oil on canvas Size: 22 x 27 cm Signed on the bottom left Titled and signed on the back In mint condition and framed (size with frame: 34 x 39 cm) Origin: Artist's family Painting sold with invoice and certificate of authenticity. Fast and neat shipping with insurance. Lyne SEYBEL Her vocation for drawing had been present since her childhood, using notebooks that she always carried with her, capturing the movements of life, the colours, the poetry of the moment, the humour of people. It is a “Femme passant à bicyclette”, “La rue Mouffetard”, “Des enfants jouant au jardin”, “Pêcheurs tirant les bateaux sur la plage”, “Le balayeur noir”, “Bateau vert sur la mer”… She then attended the Beaux-Arts and the Ecole du Louvre as an auditor, drew extensively from Antiquity in the galleries of the Louvre Museum, and travelled through Paris in all weathers with her easel. During various trips, she met in Deauville Pierre Bonnard who was very interested in her notebooks and ardently encouraged her to continue. At Le Cannet, she met again this great master with whom she had long talks on the play of light and colour, the expression of her sensitivity, the resonances of the soul. She then painted "La petite fille de lumière", "Le déjeuner de soleil", "Lolita au chignon roux", "Du balcon d'Eze-sur-Mer", "Les bords de Seine à Bougival", "Tempête à Honfleur", "L'église d'Auvers". . . She attended the Frochot Academy in Pigalle, where Toulouse-Lautrec had so often worked; there she perfected her drawing, so that each work in itself became a real little painting. Among the works she produced at that time were: “Femme nue sur un canapé”, “La noire”, “ Alice au chignon bouclé”. . . She worked at the Grande Chaumière in Montparnasse and especially in André Lhote's studio, where Henri Goetz supported her. He understood her views and her personal way of painting, where the rich material radiates the inner light of a constructed subject, in happy or sometimes daring colour harmonies. During her stays in Normandy, she was fascinated by the haze that a few rays of sunlight pierced before flooding the landscape. She painted "Bateaux à Barfleur", "Basse mer", "Bateau vert à Saint-Vaast", "Brume en Cotentin". . . In Auvergne, and more particularly in Cantal, it is the brightly coloured layers that overlap and give rhythm to the landscape: “Les monts”, “Au- delà de St Urcize”, “Les champs”, “Lever du jour en Auvergne”… During this period of work, she was encouraged to show herself in the painting salons in Paris. She became a member of the Artistes Français and of the Artistes Indépendants. Her works were noticed and she was asked to exhibit in Paris, in province and abroad. During her various solo exhibitions, she was always very moved to see that she brought a message of joy, happiness and deep harmony to an audience of all nationalities. She then spent more and more time in Venice, where she immersed herself in the mists of light where the pale golds succeeded and mingled with the pearly pinks of daybreak. It is not uncommon to see her, in the early morning with her easel fixing on the canvas the fleeting shades, the lightness of the air, the diaphanous colours (“Aube à Venise”, “Lumière”, “San Giorgio matinal” . . .) . From now on, for some, early mornings will not fail to evoke Lyne's works. In contrast, the warm and flamboyant tones of twilight in Venice arouse in her an exuberance of colour in an almost theatrical setting (" Soir de Venise”, “Le gondolier mauve”, “Un camélia sur la lagune”, “Minuit Carnaval”, “Soir d’été sur le Grand canal”. . .) In Auvergne, where she stayed every year, she interacted with nature. For her, fields are a source of deep emotions, through the multiplicity, the movement of colours, the transparency of the air, the musicality of light. With each step, she perceived an immense song that was structured and elevated, imbued with tenderness, resonance and the clarity of the soul. She painted “Paysage d’été”, “Les champs au printemps”, “Champs violets”, “Fin d’été”. . . On the Normandy coast, she found this soft musicality of colours, the transparency of the air, the iridescent light.
View it on
Estimate
Time, Location
Auction House
\Artist: Lyne Seybel (1919-2009)
Technique: Oil on canvas\Signature: Hand signed\Dimensions: 22_27_0_cm
Lyne SEYBEL (1919-2009) “Montmartre, Au Soleil de la Butte” Oil on canvas Size: 22 x 27 cm Signed on the bottom left Titled and signed on the back In mint condition and framed (size with frame: 34 x 39 cm) Origin: Artist's family Painting sold with invoice and certificate of authenticity. Fast and neat shipping with insurance. Lyne SEYBEL Her vocation for drawing had been present since her childhood, using notebooks that she always carried with her, capturing the movements of life, the colours, the poetry of the moment, the humour of people. It is a “Femme passant à bicyclette”, “La rue Mouffetard”, “Des enfants jouant au jardin”, “Pêcheurs tirant les bateaux sur la plage”, “Le balayeur noir”, “Bateau vert sur la mer”… She then attended the Beaux-Arts and the Ecole du Louvre as an auditor, drew extensively from Antiquity in the galleries of the Louvre Museum, and travelled through Paris in all weathers with her easel. During various trips, she met in Deauville Pierre Bonnard who was very interested in her notebooks and ardently encouraged her to continue. At Le Cannet, she met again this great master with whom she had long talks on the play of light and colour, the expression of her sensitivity, the resonances of the soul. She then painted "La petite fille de lumière", "Le déjeuner de soleil", "Lolita au chignon roux", "Du balcon d'Eze-sur-Mer", "Les bords de Seine à Bougival", "Tempête à Honfleur", "L'église d'Auvers". . . She attended the Frochot Academy in Pigalle, where Toulouse-Lautrec had so often worked; there she perfected her drawing, so that each work in itself became a real little painting. Among the works she produced at that time were: “Femme nue sur un canapé”, “La noire”, “ Alice au chignon bouclé”. . . She worked at the Grande Chaumière in Montparnasse and especially in André Lhote's studio, where Henri Goetz supported her. He understood her views and her personal way of painting, where the rich material radiates the inner light of a constructed subject, in happy or sometimes daring colour harmonies. During her stays in Normandy, she was fascinated by the haze that a few rays of sunlight pierced before flooding the landscape. She painted "Bateaux à Barfleur", "Basse mer", "Bateau vert à Saint-Vaast", "Brume en Cotentin". . . In Auvergne, and more particularly in Cantal, it is the brightly coloured layers that overlap and give rhythm to the landscape: “Les monts”, “Au- delà de St Urcize”, “Les champs”, “Lever du jour en Auvergne”… During this period of work, she was encouraged to show herself in the painting salons in Paris. She became a member of the Artistes Français and of the Artistes Indépendants. Her works were noticed and she was asked to exhibit in Paris, in province and abroad. During her various solo exhibitions, she was always very moved to see that she brought a message of joy, happiness and deep harmony to an audience of all nationalities. She then spent more and more time in Venice, where she immersed herself in the mists of light where the pale golds succeeded and mingled with the pearly pinks of daybreak. It is not uncommon to see her, in the early morning with her easel fixing on the canvas the fleeting shades, the lightness of the air, the diaphanous colours (“Aube à Venise”, “Lumière”, “San Giorgio matinal” . . .) . From now on, for some, early mornings will not fail to evoke Lyne's works. In contrast, the warm and flamboyant tones of twilight in Venice arouse in her an exuberance of colour in an almost theatrical setting (" Soir de Venise”, “Le gondolier mauve”, “Un camélia sur la lagune”, “Minuit Carnaval”, “Soir d’été sur le Grand canal”. . .) In Auvergne, where she stayed every year, she interacted with nature. For her, fields are a source of deep emotions, through the multiplicity, the movement of colours, the transparency of the air, the musicality of light. With each step, she perceived an immense song that was structured and elevated, imbued with tenderness, resonance and the clarity of the soul. She painted “Paysage d’été”, “Les champs au printemps”, “Champs violets”, “Fin d’été”. . . On the Normandy coast, she found this soft musicality of colours, the transparency of the air, the iridescent light.
Estimate
Time, Location
Auction House
